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11 JULY 2013

Czech Film Posters of the 1960s

"The birth of the Czech creative film poster phenomenon in the early sixties can be credited to Karel Vaca, Karel Teissig, Richard Fremund, Vladimir Tesar, Jiri Balcar, Jaroslav Fiser, Zdenek Ziegler, Milan Grygar, Bedrich Dlouhy, Zdenek Palcr and others. In the late sixties and during the seventies they were joined by Josef Vyletal, Olga Polackova–Vyletalova, Jiri Rathousky, Alexej Jaros, Karel Machalek, Petr Pos, Jiri Salamoun, Vratislav Hlavaty, Zdenek Vlach and Antonin Sladek. In the streets, but soon also at film festival exhibitions, in art galleries and cinema premises, Czech film poster rapidly won the favor of the public for its creative imagination, poetic and lyrical atmosphere. It was characteristic by the use of collage, rollage, photomontage, retouching, striking graphic designs, wity typographic visual puns and surrealist dreamy interpretation. Mass reproductions of works of art flooded the billboards in towns and cities and changed them into sidewalk open air galleries. In the course of the 1960s, Czech film poster designers found inspiration in the informal style, applying its forms of structural abstraction and lettrism, later on in pop–art and op–art, using the then popular psychedelic forms and colors. Artists frequently employed styles inspired by the film forms, such as enlarged close–up, merging of symbolic and metaphoric visual levels and repeated details."

(Marta Sylvestrova, Museu de Arte de Macau)

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TAGS

1960s • Alexej Jaros • Andrzej Wajda • Antonin Sladek • artistic expression • Bedrich Dlouhy • collagecolour • cultural education • Czech film poster • Czech graphic design • Czech RepublicCzechoslovakiaexhibitionFederico Fellinifilm poster • film poster designer • graphic design • informal style • Ingmar Bergman • Jaroslav Fiser • Jiri Balcar • Jiri Rathousky • Jiri Salamoun • Josef Vyletal • Karel Machalek • Karel Teissig • Karel Vaca • lettrism • Luchino Visconti • Macau Museum of Art • mass reproduction • metaphoricmid-century design • Milan Grygar • Moravian Gallery in Brno • Museu de Arte de Macau • Olga Polackova-Vyletalova • op art • open air galleries • Paolo Pasolini • Petr Pos • photomontagepop art • psychedelic forms • psychedelic imagery • reproduction of illustrations • retouching • Richard Fremund • rollage • structural abstraction • surrealist inspiration • typographic poster • Vladimir Tesar • Vratislav Hlavaty • Zdenek Palcr • Zdenek Vlach • Zdenek Ziegler

CONTRIBUTOR

Simon Perkins
05 AUGUST 2012

Jane Campion: A Girl's Own Story (short film)

"Jane Campion has been a dominant force in world cinema for nearly two decades. Shot delicately in black–and–white, A Girl's Own Story is an early short film that traces the stories of three suburban teenage girls (Pam, Gloria and Stella) in 1960's Australia. It deals with the difficulties of burgeoning sexuality, incest, friendship and family against the backdrop of Beatlemania and an era that valued the isolating notions of purity and wholesomeness over honesty and acceptance."

(Anton de Lonno 11 July 2010, Senses of Cinema)

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TAGS

1960s1984 • A Girls Own Story • An Angel at My Table (film) • AustraliaAustralian cinemaAustralian short filmauteur • Beatlemania • black and whiteboys • burgeoning sexuality • chiaroscurocold • Cut (film) • David Lynchdesiredoll play • eery • effigyexpressionistic • expressionistic conventions • familyfemale sexualityfemininityfriendship • Gabrielle Shornegg • gender performance culture • Geraldine Haywood • haunting moment • honesty and acceptance • humour • I Feel the Cold • ice-skating • incest • Ingmar Bergman • inky suburban subconscious • intimate sexualityisolationJane Campion • lustful embrace • Marina Knight • New Zealand filmmakerparentspathos • Peter Weir • Piano (film) • puritySenses of Cinema (journal)sexual agencyshort filmsuburbanteenage girls • tenderness • The Beatles • The Portrait of a Lady (film) • wholesomeness • world cinema

CONTRIBUTOR

Simon Perkins
12 MARCH 2012

Wild Strawberries: expressionistic and Freudian dream sequences

"There are other Expressionist and certainly Freudian dream sequences in the picture, almost always with the old man appearing in them as his present self. And some of these, largely because so many have badly copied, now look a little self–conscious– arty even. But the film's ability to engage the emotions makes it notable for more than just technique.

One of the prime reasons is what can only be described as the transcendent performance of Victor Sjostrom as Professor Borg. Sjostrom was the great Swedish silent–era director, who died aged 80, not long after the film was completed and whose The Phantom Carriage had so influenced Bergman. It was he who made the final scene one of the most serene of all Bergman's endings. 'Sjostrom's face shone', said the director. 'It emanated light – a reflection of a different reality, hitherto absent. His whole appearance was soft and gentle, his glance joyful and tender. It was like a miracle'.

Later, Bergman admitted that the character of Borg was an attempt to justify himself to his own parents, but that Sjostrom had taken his text, made it his own and invested it with Sjostrom's often painful experiences. It is still, however, chiefly concerned with forgiveness between parents and children and the lost possibilities of youth."

(Derek Malcolm, 10 June 1999)

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TAGS

1957 • carriage • clockcoffincorpsedeathdreamdream sequenceexpressionism • expressionist • expressionisticfilmfilm-maker • forgiveness • Freudian • hearse • in the mindIngmar Bergman • lamppost • lucid dreaming • Lund • medical scientist • mysteriousnightmareold manpainful experiencesphantompsychology • redemption • silent-era • somnambulistStockholmSwedishSwedish filmmaker • Victor Sjostrom • visual metaphorvisual spectaclewheelWild Strawberries (1957)

CONTRIBUTOR

Simon Perkins
25 FEBRUARY 2011

Wild Strawberries: falling backwards through memories

Ingmar "Bergman's restless mind wouldn't even leave him to rest during a brief hospital stay, which is where he wrote the script for one of his earliest forays into the nature of age, memory and self–reflection. The core of the film had come to him the previous year while driving through his old hometown of Uppsala, past his grandmother's house. His fertile imagination wondered how it might be if he could open the door and step back into his own childhood, and from this kernel grew Wild Strawberries. In Swedish the title of Smultronstället has deeper meaning than just referring to a wild strawberry patch, it has a colloquial sense of a place invested with personal or sentimental value, often undervalued until it returns to memory in a nostalgic fashion. Which is precisely what the lead character of Isak Borg experiences throughout the film, falling backwards through his memories, attempting to make sense of his life in his final years. It's not an unusual thing for a Bergman film to be filled with casual slips between reality and dreams/memories, or to be populated with characters whose role is to aid our protagonist on his/her internal quest, but the lead character is not what we might envision in Bergman's work. Isak Borg is not a cruel man, but his self–centred cynicism and rampant egotism set him apart from the majority of other Bergman leads. But he needs to be such a vaguely unlikable character for the audience to experience the full impact of his self–realisation, dragged through a series of memories and forced to confront his continuing failures and inadequacies. A loveable, upright character would not have been able to supply so much powerful redemption in the final reel."

(Craig Andrews, Media Resource Centre)

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TAGS

195735mmacross timechildhoodchronological timecircular narrative structuredreamfilmimaginationin the mindIngmar Bergmaninternal quest • Iris Cinema • Lund Universitymemory • Mercury Cinema • nostalgiapastpersonalself-realisationself-reflection • Smultronstallet • SwedishSwedish filmmaker • Uppsala • Wild Strawberries (1957)

CONTRIBUTOR

Simon Perkins
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